DOCSLIB.ORG

The Art of Marketing

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
The Art of Marketing The Art of Marketing Yin Wai Gary So, Lin Dong, & Andreas B. Eisingerich Discussion Paper 2017/02 April 2017 The Art of Marketing Yin Wai Gary So, Lin Dong, & Andreas B. Eisingerich 1 Banksy is a pseudonymous graffiti artist, political activist and painter known for his satirical graffiti art and subversive epigrams, which combine dark humour with graffiti done in a distinctive stencilling technique (Banksy, n.d., Dickens, 2014; Medal, 2016). He tends to display his art on walls of streets, alleys, tunnels and buildings rather than in art galleries. Banksy is also known for brandalism, a method of using techniques and language from brand-name advertisements to create slogans and images to subvert those brands (Dickens, 2014). Banksy did an effective job at connecting to his audience(s) through enticement and enrichment. On a basic level, Banksy enticed the audience through the visual aesthetic of his art; providing sensory stimulation to please the visual senses. On a deeper level, Banksy used cognitive stimulation, emotional touch and empathy to engage his audience. Core aspects of Banksy’s work are his epigrams that speak out about political hypocrisy and social injustice (Dickens, 2014). His provocative quips and messages, supported by rich graphics and statements on his website, draw attention to socio-political issues and cause the audience to ponder over them on a cognitive level. As people think about these issues in more depth, they may then empathise with the victims of the issues, such as migrants in France. Furthermore, such epigrams also resonate strongly with the audience on a self- relevant level. Banksy makes sure to connect his works with the zeitgeist and counter- zeitgeist of the time; these associations make his work extremely relevant to his audience, particularly as such issues are those that are deeply cared-for. For instance, during his 2013 exhibition “Better Out Than In” in New York City, he painted about topics such as 9/11 and Occupy Wall Street (Rae, 2013). Banksy’s work essentially serves as an outlet for the people’s voices and their ideas, especially their discontent with society. This relevance to issues that people deeply care about subsequently creates brand prominence as well as brand respect. It is also worth noting that Banksy often communicates messages through imagery only, essentially allowing his audience to make their own interpretations and form their own ideas. This action further enriches one’s self-identity as one is no longer just part 2 of a group passively letting Banksy speak on their behalf, but is also actively projecting their values. Moreover, Banksy provided his audience with a community and group affiliation – people were drawn together under a common cause, which enriched the self (Park, MacInnis, & Eisingerich, 2016). What is amazing about this is that Banksy appealed to a wide range of group affiliations. Art-seekers appreciate Banksy’s work because of the distinctive stencilling technique, imagery and status-signalling; these people are usually the ones who pay six figures for his art. However, there were also numerous groups that supported the various issues he addresses, such as Occupy Wall Street, Palestinian freedom and treatment of migrants. By identifying with individual and group values and uniting people together under group affiliations, Banksy strengthened audience members’ self-esteem and self- identity. Through enticing and enriching his audiences, Banksy has built close relationships with his followers, who form a loyal fan base that supports and shares his work, as well as created brand admiration. This brand admiration and tight connection with Banksy’s relevant messages has resulted in the audience seeing Banksy’s brand as part of themselves (Park et al., 2016). Banksy built up attention and brand prominence through several different methods, with word-of-mouth and social media sharing as key marketing channels. Firstly, Banksy was unpredictable regarding when and where he would show up next. For instance, he orchestrated a stunt in Central Park where a middleman sold original works, each worth over £30,000 at the time, for only $60 apiece (Kennedy, 2014). In addition, he announced his New York City exhibition, Better Out Than In, only a week in advance and through a mural in Los Angeles, even though the show was to be held in New York City (Rae, 2013). Next, Banksy enhanced desire of his art due to its scarcity, since people tend to attribute more value to and desire things that are less available (Cialdini, 2008). Scarcity of his artwork led to enhanced valuation and attention paid to them (Rae, 2013). Additionally, most of Banksy’s work were (and still are) on tunnel, alley, and building walls. This is an interesting medium that further drew attention to his work. Unlike art pieces in museums or galleries, Banksy’s work was on public display and could reach a much larger audience, exposure which is accentuated by news coverage and social media. Moreover, Banksy used his art to spur conversation and social sharing. He painted 9 images on the West Bank Wall, a barrier separating Israel from Palestinian territories (Dickens, 2014). This move sparked fierce debate in the media, since the United Nations International Court of Justice had ruled the wall as illegal – thus it was unclear whether his paintings qualified as vandalism. Some of his works on the wall are shown in Appendix A. Finally, Banksy’s pseudonymity created a lot of hype around his work. Because no one knew his real identity, people wanted to find out know more about the person behind the mask. Therefore, Banksy used his pseudonymity to establish relationships with the audience, and 3 then used visual imagery and slogans to nurture and grow those relationships. As his art enticed and enriched the audience, relationships with the audience and brand prominence were enhanced as people increasingly identified with Banksy’s brand and messages. Key Takeaways for Business There are some concepts from Banksy’s work that marketers could learn from and apply to their own brands. 1) Be consistent A brand needs consistent branding, such as a value proposition or trademark. Popdan (2013) asserts, “[a] brand should have one voice and one personality across all platforms”. In addition, it is not only branding that needs to be consistent, it is also frequency of content, which boosts awareness and expectations. 2) Provide quality and relevant content Great positioning of a product or authenticity of a campaign is useless without strong content (Popdan, 2013). It is also important to stay current to topics that the audience will be more likely to care about. Marketers can easily find out current trends through market research such as the news, Google Trends, Askthepublic.com and surveys. 3) Leverage social media In providing relevant content, also leverage the power of social media sharing. Information can be shared with the click of a button and is easily-accessible. Marketers should be present on social media platforms and publish content that is easily sharable such as images, videos and stories. 4) Be unpredictable and unique Unpredictability often translates to mystique and interesting results, and will increase word-of-mouth online and offline as people share the content and discuss ‘what next’. Thus, content should be fresh and new, yet also meaningful and current. Banksy is perhaps one of the most famous unidentifiable people in the world. He has a famous quote: “if you want to say something and have people listen then you have to wear a mask”. Wearing the mask of Banksy is not only required given some of his illegal actions, he also intends to keep his identity anonymous. Such anonymity allows him to express ideas freely and also encourages his audience to simply focus on what he wants to express by eliminating any personal-related associations (age, looks, etc.). For public figures, the audiences can be influenced, consciously or unconsciously, by their personal images when the audiences try to understand and interpret their productions such as songs, acting, 4 paintings and so on. By hiding behind the curtain, Banksy allows his audience to interpret his art pieces without additional noise. In addition, such anonymity creates buzz on social media platforms, which helps Banksy to augment his influence and reach more people. The audience’s curiosity toward Banksy holds their interests and engagement of discussion about Banksy and his art. Consistent with his mysterious and unpredictable image, Banksy never informs fans about his next step. Every time Banksy releases new graffiti, it is always a surprise for fans that generates immediate discussion on social media and tends to spread like wildfire. Banksy entices and enriches his audience through his rich graphic stencil-art and provocative epigrams. His main aim has been to raise awareness of socio-political controversies and shift attitudes and perceptions. Banksy has achieved this using scarce paintings, unpredictable locations and publicity stunts, pseudonymity and relevant topic choices. Banksy has also created admiration for his brand, whereby admirers are willing to pay a price premium for his art (Park et al., 2016) and develop brand communities through social media such as on Instagram, Twitter, Facebook and blogs. In turn, the public scope of Banksy’s work, satirical messages and imagery and the high auction prices enhance his brand prominence (Dickens, 2014; Medal, 2016; Popdan, 2013). From Banksy’s work, marketers of the future should learn to have consistent branding, provide relevant content, leverage social media and be unpredictable and unique. Questions to consider: 1. What makes Banksy stand out in a noisy and crowded marketplace? 2. How can the Banksy brand be leveraged? What may potentially hinder its growth in the future? 3. Who is Banksy’s target audience? How does it relate to the brand’s identity? 4.
Load more

Recommended publications
  • This Is Modern Art 2014/15 Season Lisa Portes Lisa
    SAVERIO TRUGLIA PHOTOGRAPHY BY PHOTOGRAPHY BY 2014/15 SEASON STUDY GUIDE THIS IS MODERN ART (BASED ON TRUE EVENTS) WRITTEN BY IDRIS GOODWIN AND KEVIN COVAL DIRECTED BY LISA PORTES FEBRUARY 25 – MARCH 14, 2015 INDEX: 2 WELCOME LETTER 4 PLAY SYNOPSIS 6 COVERAGE OF INCIDENT AT ART INSTITUTE: MODERN ART. MADE YOU LOOK. 7 CHARACTER DESCRIPTIONS 8 PROFILE OF A GRAFFITI WRITER: MIGUEL ‘KANE ONE’ AGUILAR 12 WRITING ON THE WALL: GRAFFITI GIVES A VOICE TO THE VOICELESS with classroom activity 16 BRINGING CHICAGO’S URBAN LANDSCAPE TO THE STEPPENWOLF STAGE: A CONVERSATION WITH PLAYWRIGHT DEAR TEACHERS: IDRIS GOODWIN 18 THE EVOLUTION OF GRAFFITI IN THE UNITED STATES THANK YOU FOR JOINING STEPPENWOLF FOR YOUNG ADULTS FOR OUR SECOND 20 COMMON CORE STATE STANDARDS SHOW OF 2014/15 SEASON: CREATE A MOVEMENT: THE ART OF A REVOLUTION. 21 ADDITIONAL RESOURCES 22 NEXT UP: PROJECT COMPASS In This Is Modern Art, we witness a crew of graffiti writers, Please see page 20 for a detailed outline of the standards Made U Look (MUL), wrestling with the best way to make met in this guide. If you need further information about 23 ACKNOWLEDGEMENTS people take notice of the art they are creating. They choose the way our work aligns with the standards, please let to bomb the outside of the Art Institute to show theirs is us know. a legitimate, worthy and complex art form born from a rich legacy, that their graffiti is modern art. As the character of As always, we look forward to continuing the conversations Seven tells us, ‘This is a chance to show people that there fostered on stage in your classrooms, through this guide are real artists in this city.
    [Show full text]
  • Paper Abstracts
    PAPER ABSTRACTS 43rd Annual Conference Thursday, April 7th –– Saturday, April 9th, 2016 DePaul University, Chicago rd The 43 Annual Conference of the Midwest Art History Society is sponsored by: DePaul University The Art Institute of Chicago Columbia College Loyola University Institutional Members of the Midwest Art History Society The Cleveland Museum of Art The Figge Art Museum The Frederik Meijer Gardens & Sculpture Park Illinois State University School of Art The Krasl Art Center Michigan State University Art, Art History & Design The Nelson-Atkins Museum of Art Northern Arizona University Art Museum The Snite Museum of Art, University of Notre Dame University of Illinois at Chicago School of Art & Art History University of Iowa Museum of Art University of Iowa School of Art and Art History The University of Kansas The Kress Foundation Department of Art History Wright State University Art Galleries 2 CONTENTS Conference at a Glance 5 Conference Schedule and Abstracts 7 Undergraduate Session (I) 7 El Arte in the Midwest 8 Asian Art 10 Chicago Design: Histories and Narratives 11 The Social Role of the Portrait 13 Latin American and Pre-Columbian Art 14 History of Photography 16 Black Arts Movement 18 The Personal is Political: Feminist Social Practice 18 International Art Collections of Chicago 20 The Chicago World’s Fair: A Reevaluation 21 Native American Images in Modern and Contemporary Art 22 Art for All Seasons: Art and Sculpture in Parks and Gardens 23 Open Session (I) 25 Architecture 26 Twentieth-Century Art (I) 28 Recent Acquisitions
    [Show full text]
  • Thinking the Flâneur in Late-Modern Societies Francisco Martínez
    Beautiful Transgressions: Thinking the Flâneur in Late-modern Societies Francisco Martínez Introduction The present text1 has the objective of accounting for recent reincar- nations of the flâneur. The exercise is, therefore, to track this figure in late-modern societies. Also to re-think the notion of transgres- sion, changing in a world obsessed with changes, whereby limits appear increasingly loss and ‘think out of the box’ is stressed as a mean to innovation. Methodologically, I draw on multiple examples that help to reflect on contemporary transgressions as well as on classic authors that were inspired by the flâneur. Zygmunt Bauman (1994) enhances the rehearsing character of the original flâneur, its contingency of meaning, its playfulness, bringing about its own social order. And nonetheless, Bauman argues that the transforma- tion of this figure into a costumer is practically unavoidable: “at the end of the day, the dividing line has blurred. It is no more clear what (who) is the object of consumption, who (what) is the consumer” 1 Thanks to Marcos, Marika, Max, Patrick, Pille, Simon and Siobhan for their comments and encouragement while writing this text. 403 Hopeless Youth! Remediated Youth? (ibid.: 146). With certain drops of pessimism, Bauman claims that the contemporary flâneur has been reduced to a costumer in a mall or to a travelling player. He then concludes that today anyone with passionate eyes a heroic constitution would refuse being a flâneur (ibid.: 156). I will contest this opinion by giving contemporary exam- ples of flâneur-like acts that engage with the public space in a play- ful, transversal and affective interaction.
    [Show full text]
  • Why Is America So Punitive?
    Why is America So Punitive? A Report on the Deliberations of The Interdisciplinary Roundtable on Punitiveness in America Held at John Jay College of Criminal Justice April 2-3, 2015 Authors: Bettina Muenster and Jennifer Trone March 2016 Supported By: Acknowledgements We would like to express our gratitude to the John D. and Catherine T. MacArthur Foundation which has a long history supporting research that leads to social change. In this instance, the Foundation hoped that a cross-pollination of perspectives could unpack the phenomenon of punitiveness in the operations of the American criminal justice system and, more importantly, illuminate the path forward to a more humane and effective response to crime. The Roundtable thus joins a larger portfolio of research and programmatic initiatives at MacArthur that are designed to find ways to reduce America’s reliance on incarceration while promoting public safety and justice. About Us The John D. and Catherine T. MacArthur Foundation supports creative people, effective institutions, and influential networks building a more just, verdant, and peaceful world. MacArthur is placing a few big bets that truly significant progress is possible on some of the world’s most pressing social challenges, including over-incarceration, global climate change, nuclear risk, and significantly increasing capital for the social sector. In addition to the MacArthur Fellows Program, the Foundation continues its historic commitments to the role of journalism in a responsible and responsive democracy; the strength and vitality of our headquarters city, Chicago; and generating new knowledge about critical issues. MacArthur is one of the nation's largest independent foundations.
    [Show full text]
  • Banksy and the Stencil As Radical Graphic Form
    DRTP 1 (1) pp. 97–117 Intellect Limited 2016 Drawing: Research, Theory, Practice Volume 1 Number 1 © 2016 Intellect Ltd Essays. English language. doi: 10.1386/drtp.1.1.97_3 Essays Paul GouGh RMIT University Existencillism: Banksy and the stencil as radical graphic form Keywords abstract subcultural graffiti Contemporary graffiti artists, or ‘writers’ as they are known, observe a strict hierarchy that self-ranks Banksy ambition, daring and calligraphic innovation. At the apex are those writers who create the imposing wildstyle Blek le Rat exhibition pieces, large-scale vivid inscriptions that require a high degree of graphic invention and daring. At street art the other extreme are the stencil-cutters, who by comparison are regarded within the peer community of the stencil subculture, as lesser writers, relying on craft skills that are held to be quaint, even fraudulent. This article stencilling explores the persistence and ubiquitous spread of the stencil as a vehicle for mass-produced street art, made especially popular through the iconic work of British street-artist Banksy. Exploring the origins of his work in stencil the article examines how he has both radicalized the genre, while still retaining its essential value 97 DRTP_1.1_Paul Gough_97-117.indd 97 10/1/15 2:26:48 PM Paul Gough as an industrial, utilitarian and iconic graphic. The article compares the deadpan, but hugely popular, drawn language of the stencil with the freehand calligraphy of the taggers, ‘kings’ and other exhibition ‘writers’, and closes with a set of questions, in particular: what is the future of drawing in countercultural expression? urban calligraphy Graffiti have to be seen as an assertion of something, a criticism of public reality […] [a] tide of indecipherable signatures of mutinous adolescents which has washed over and bitten into the facades of monuments and the surfaces of public vehicles in the city where I live: graffiti as an assertion of disrespect, yes, but most of all simply an assertion […] the powerless saying: I’m here too.
    [Show full text]
  • Un Annual Summit Brings World Leaders to Nyc
    PAGE 4 PAGE 5 GET TO YOUR MMC FACES CAMPUS SGA PRESIDENT SECURITY THREAT VOLUME 22, ISSUE 02 MARYMOUNT MANHATTAN COLLEGE’S STUDENT NEWSPAPER October 15TH, 2019 UN ANNUAL SUMMIT BRINGS WORLD LEADERS TO NYC Photo from www.pewresearch.org By Seamus Fallon Manhattan’s Foley Square, which specific steps to lower dependence eliminating the use of fossil fuels, Staff Writer totaled “at least 60,000 people” on fossil fuel in there respective an economic and politically pain- according to Mayor De Blasio’s of- nations. The leaders of more than ful step that would drastically re- The Unite Nation’s annual fice who even allowed thousands 70 countries have made prom- duce emissions. The nations that summit filled with world leaders of students in the New York City ises outside and inside the U.N. have declared “net zero” targets opened on September 23rd with Public School system to take the chambers that sounds “nothing only make up a small percent- U.N. Secretary General, Antonio day off in order to participate in short of revolutionary” as many age of global emissions. They do Guterres, calling this major sum- the strike. The summit featured news-houses call it. By 2050, these not include major polluters with mit to promote actions to slow a 16-year-old Swedish climate leaders say they will reach “net heavy industrial or farming con- climate change. It’s safe to say the activist Greta Thunberg, who zero” thus, putting no more car- centrations like China, the Unit- United Nations Summit was not traveled across the Atlantic on a bon dioxide into the atmosphere.
    [Show full text]
  • Banksy. Urban Art in a Material World
    Ulrich Blanché BANKSY Ulrich Blanché Banksy Urban Art in a Material World Translated from German by Rebekah Jonas and Ulrich Blanché Tectum Ulrich Blanché Banksy. Urban Art in a Material World Translated by Rebekah Jonas and Ulrich Blanché Proofread by Rebekah Jonas Tectum Verlag Marburg, 2016 ISBN 978-3-8288-6357-6 (Dieser Titel ist zugleich als gedrucktes Buch unter der ISBN 978-3-8288-3541-2 im Tectum Verlag erschienen.) Umschlagabbildung: Food Art made in 2008 by Prudence Emma Staite. Reprinted by kind permission of Nestlé and Prudence Emma Staite. Besuchen Sie uns im Internet www.tectum-verlag.de www.facebook.com/tectum.verlag Bibliografische Informationen der Deutschen Nationalbibliothek Die Deutsche Nationalbibliothek verzeichnet diese Publikation in der Deutschen Nationalbibliografie; detaillierte bibliografische Angaben sind im Internet über http://dnb.ddb.de abrufbar. Table of Content 1) Introduction 11 a) How Does Banksy Depict Consumerism? 11 b) How is the Term Consumer Culture Used in this Study? 15 c) Sources 17 2) Terms and Definitions 19 a) Consumerism and Consumption 19 i) The Term Consumption 19 ii) The Concept of Consumerism 20 b) Cultural Critique, Critique of Authority and Environmental Criticism 23 c) Consumer Society 23 i) Narrowing Down »Consumer Society« 24 ii) Emergence of Consumer Societies 25 d) Consumption and Religion 28 e) Consumption in Art History 31 i) Marcel Duchamp 32 ii) Andy Warhol 35 iii) Jeff Koons 39 f) Graffiti, Street Art, and Urban Art 43 i) Graffiti 43 ii) The Term Street Art 44 iii) Definition
    [Show full text]
  • Round 6 Tossups.Pdf
    Kirk Jing, Will Alston, Nick Jensen Modern World Tournament 2014 Round #6 Tossups 1. One of these people sings the song “Kelas” to Edward Elric as he flees Munich. A protest against these people was the main issue of the Canadian Supreme Court’s Krymowski case. The paneláky of Chanov is inhabited by many of these people, who inspired the Cirque du Soleil show Varekai and star in Louise Doughty’s Fires in the Dark. Allegations that these people were deliberately exposed to lead poisoning by UNMIK are discussed in the book Peace At Any Price, which details their alleged ethnic cleansing by the (*) Kosovo Liberation Army. Latin chants echo as a Disney villain sings that one of these people must “choose me or your pyre, be mine or you will burn.” The EU condemned Nicolas Sarkozy for violating migration agreements when he expelled these people from France. For 10 points, name these itinerant people of Indian origin, the largest group referred to as “Gypsies.” ANSWER: Romani [prompt on Gypsies or non-specific answers like nomads; accept Sinti, Kale, Boyash, Kalderash, Machbaya, Ursari, Richinara, Manouche, Tsiganes, Lovari, Cascarots, Erromintxela, Romanichal or other subgroups of Romani] 2. In 2011, this nation outraged trade unions with the Essential National Industries Decree. The People's Charter for Change, Peace and Progress was proposed in this nation, whose Reconciliation, Tolerance, and Unity Bill was opposed by the National Federation Party but supported by the SDL, sparking a 2006 coup. George Speight is serving life in prison for his role in an earlier coup in this nation, which educates many people at USP.
    [Show full text]
  • Graffiti and Street Art As Non-Normative Placemaking
    Western Michigan University ScholarWorks at WMU Master's Theses Graduate College 4-2018 Deviance Fluidity on the Urban Landscape: Graffiti and Street Art as Non-Normative Placemaking Alyson M. Mabie Follow this and additional works at: https://scholarworks.wmich.edu/masters_theses Part of the Human Geography Commons, and the Physical and Environmental Geography Commons Recommended Citation Mabie, Alyson M., "Deviance Fluidity on the Urban Landscape: Graffiti and Street Art as Non-Normative Placemaking" (2018). Master's Theses. 3411. https://scholarworks.wmich.edu/masters_theses/3411 This Masters Thesis-Open Access is brought to you for free and open access by the Graduate College at ScholarWorks at WMU. It has been accepted for inclusion in Master's Theses by an authorized administrator of ScholarWorks at WMU. For more information, please contact [email protected]. DEVIANCE FLUIDITY ON THE URBAN LANDSCAPE: GRAFFITI AND STREET ART AS NON-NORMATIVE PLACEMAKING by Alyson M. Mabie A thesis submitted to the Graduate College in partial fulfillment of the requirements for the degree of Master of Science Geography Western Michigan University April 2018 Thesis Committee: Dr. Lucius Hallett, PhD, Chair Dr. Gregory Veeck, PhD Dr. Benjamin Ofori-Amoah, PhD Dr. Jesse Smith, PhD © 2018 Alyson M. Mabie DEVIANCE FLUIDITY ON THE URBAN LANDSCAPE: GRAFFITI AND STREET ART AS NON-NORMATIVE PLACEMAKING Alyson M. Mabie, M.S. Western Michigan University 2018 Graffiti is recognized as an illegal deviant act. Sociologically, deviance is defined by the audience perceiving the act, rather than inherent in the act itself. In this context, deviance is subjective and fluid. This paper explores the spectrum of graffiti from criminal vandalism to celebrated art form in the context of its placement on the urban landscape.
    [Show full text]
  • Laughing All the Way to the Banksy Why Bloomberg’S New York Needs Britain’S Most Famous Street Artist
    CULTUREBOX ARTS, ENTERTAINMENT, AND MORE. OCT. 22 2013 11:45 PM Laughing All the Way to the Banksy Why Bloomberg’s New York needs Britain’s most famous street artist By Ben Davis A new installation of British graffiti artist Banksy is pictured in New York on Oct. 18, 2013. Photo by Carlo Allegri/Reuters I was all set to write something snarky about the media frenzy around Banksy’s current month- long, self-declared “residency” in New York, for which the famed British street artist has been seeding daily guerrilla art interventions across the Big Apple. I’m less dismissive of Banksy than other art critics—Jerry Saltz pans him as “the easy-access photorealist of graffiti artists”—but I do wonder if his presence really is worth so much hype when our own native New York graffiti landmarks, like Long Island City’s imperiled 5 Pointz, are being turned into condos. But then, last week, outgoing mayor Michael Bloomberg weighed in, and opened my eyes to the beauty of it all. Bloomberg made his remarks at a press conference to mark the opening of a new water tunnel beneath Central Park—an important event but one that literally falls beneath the field of interest of most New Yorkers, so I suppose reporters were trying to spice things up when they brought up Banksy. New York’s dependable tabloids portrayed the mayor as declaring war on the elusive artist, conjuring tantalizing visions of a Keystone Cops-style manhunt. In truth, however, Bloomberg’s musings are more philosophical than anything else.
    [Show full text]
  • The Political Efficacy of Banksy's Brand in "Better out Than In"
    University of Montana ScholarWorks at University of Montana UM Graduate Student Research Conference (GradCon) Apr 18th, 11:40 AM - 12:00 PM Bringing it to the street: The Political Efficacy of Banksy's Brand in "Better Out Than In" Margaret Henry [email protected] Follow this and additional works at: https://scholarworks.umt.edu/gsrc Let us know how access to this document benefits ou.y Henry, Margaret, "Bringing it to the street: The Political Efficacy of Banksy's Brand in "Better Out Than In"" (2015). UM Graduate Student Research Conference (GradCon). 1. https://scholarworks.umt.edu/gsrc/2015/oralpres2c/1 This Oral Presentation is brought to you for free and open access by ScholarWorks at University of Montana. It has been accepted for inclusion in UM Graduate Student Research Conference (GradCon) by an authorized administrator of ScholarWorks at University of Montana. For more information, please contact [email protected]. Margaret Henry Abstract Bringing it to the Street: The Political Efficacy of Banksy’s ‘Brand’ in Better Out Than In1 Building on Antonio Gramsci’s notion of the “organic intellectual,” Stuart Hall proposes “instituting a genuine cultural and critical practice, which is intended to produce some kind of organic intellectual political work, which does not try to inscribe itself in the overarching meta- narrative of achieved knowledges, within the institutions” (44). While trying to resolve in my own mind the question of just what an “organic intellectual” practice would look like, the highly controversial street artist Banksy hit New York city as well as the news, turning the city into an art gallery for the masses with an “exhibition” he entitled, Better Out Than In.
    [Show full text]
  • The Top 10 Arts Stories of 2013
    huffingtonpost.com http://www.huffingtonpost.com/2013/12/28/top-art-stories-2013_n_4476306.html The Top 10 Arts Stories Of 2013 As we near the end of 2013, us nostalgia-happy folks here at HuffPost Arts & Culture are looking back at the art- centric events that made this year what it was. From blockbuster exhibitions to yonic architecture, art-savvy rappers to unsavory acid attacks, exorbitant auctions to street art atrocities, these were the top arts stories of 2013. Let us know your most memorable arts moments of the year in the comments. 1. Francis Bacon Sets Auction World Record In early November a 1969 painting by Francis Bacon set a world record for most expensive artwork ever sold at auction. "Three Studies of Lucian Freud" was sold for $142,405,000 at Christie's postwar and contemporary art sale. The triptych depicts Bacon's friend and fellow artist Lucian Freud. The buyer of the work remains unknown. Jerry Saltz memorably called the piece "A middle-brow painting by a middle-brow painter painting another middle- brow painter." 2. The Rain Room Makes Money, Breaks Hearts rAndom International's Rain Room conquered the art world this summer, luring the masses to MoMA to experience the aesthetics of rain without getting wet. The magic is done through a series of body-mapping cameras, nine controllable spouts, and 2500 litres of water falling at 1000 litres per minute, filtered and cycled back to the spouts from whence the water came. The result is as unnatural a version of a natural phenomenon as one can imagine.
    [Show full text]